- --- In email@example.com, "Melody" <melodyande@c...>
> Hi Bobby,
> I've been looking at this. I get the essence of what you're saying
> (if I'm hearing you correctly) about centering your focus on
> relationships, rather than on the individual elements,
> but I'm not quite sure I follow some of what you're saying.
> Well you amplify a bit:
> >Opening up visually is a
> matter of making conscious comparisons between colors or shapes or
> textures or lines or forms.
> Using the left brain to 'name' what I'm seeing, I'm looking at a picture
> of Osho's hands. (I just love that picture! LOL) Anyway, to describe
> it: it consists of two hands, opened, stretching outwards. [you get
> the jist of it now]
> Now to open up visually, as you're suggesting, I should now notice
> the color of his fingers (and how that color lightens and darkens
> at different points on his fingers. And compare that to the color
> of his finger nails, his cuff, and the color of the background?
Each different object should be compared within itself. The colors of the
cuff should be examined as to how they relate to each other, the background
to itself and so on.
For the hands, first compare the shadow color with light, that is the areas
where light falls most strongly and the areas of least light for both hands.
Squint your eyes and see the areas struck by the light and compare that with
the areas of least light. It is easier when you squint to see this
comparison. It may be easier to start on one finger. The large masses of
color that make up the light and shade is the most important division of
On rounded objects the light disappears as the surface turns away from the
light. There will be a middle value (color). Compare the three; light,
shade, and middle value. Then compare the lightest value of a finger to
the lightest value of another finger to see which is lighter. Make any
comparisons you wish to analyze the picture. You will see which finger is
darkest, what part of the finger has the darkest skin on it (if it is a
really clear picture) and so on. You may just want to put your own hand in
the light to do this.
>Look for relationship of like kind. The abstract elements; shape color
> How do you mean then when you say,
> >....if you look for similarities in the field of observation you see
> relationships within each of those fields. When you center only on
> the relationships and never on individual elements an overview
> I'm stuck here. Help, please?
texture line and form. That is the field of observation. Don't look at one
texture to see its nature but compare it with other textures. To depict it
you must make it consistent in your picture. This separates each testure in
the mind of the viewer from the other textures.
Take grass leaves and bark with clouds and draw them with different types of
strokes and the viewer will automatically assume the texture is there in the
drawing. Cezanne did this well. He used the same technique for grass in all
his landscapes and you know it is grass but it really does not look like
grass. He was consistent though and spread his textures throughout his
paintings in an artful way. Children do this very well too. Adults try to
get to fancy and lose the overview.
This article has some pointers in it about some of the same stuff. It also
has a link to some of my paintings.
I hope this helps. I think people need to learn to see better. A very
magical thing happens in the relationships of color out of doors. When the
hues are seen in the overview the colors get much brighter. Greys disappear
because of something called Simultaneous Contrast. It is in that article
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